Too often, victims are left without justice, while perpetrators remain in positions of power.

How can we dream differently about safety, equity and support in the creative industries? Join Creative Trailblazer Award Winner, Audrey Hall in conversation with Niyi Akeju from the Creative Industries Independent Standards Authority (CIISA) as Audrey launches The Safe Space Sisterhood – a new social enterprise championing fair treatment for freelancers, with a focus on protecting and empowering women working across the sector.

And Questions from the Floor. We’re opening our own doors. Join us… 😉

Where: Manchester International Festival 2025, Festival Sq., Aviva Studiosdin Water Street Manchester M3 4JQ

When: Thursday 17 July, 3-4pm BST

The Safe Space Sisterhood hosted by Kee Hong and Factory International Artistic Director & Chief Executive, John McGrath

#safespace #sisterhoodsolidarity #CIISA #metoo @Tamara Banks #harveyweinstein #nondisclosureagreements #safeguarding #flipthescript #bullying #parity #DrMayaAngelou

Hosted on Acast. See acast.com/privacy for more information.

Who owns Jazz? Muneer Nasser says, “we pick cotton in this country just like we pick notes. We need to analyse history, not just celebrate it.”

The son of the celebrated bassist, Jamil Nasser exalts the legacy of his dad with stories of the iconic masters. And with lessons to be learned through what Muneer calls ‘the tunnel vision’ of HipHop, it’s a history lesson of the Jazz Legends who have shaped the fabric of music across generations and his take on what’s going on in the music business today, and why.

#PressPlay! #Subscribe! #JoinTheConversation!

Contact and Follow Audrey Hall:

Facebook and Twitter:@AudreyHall_

Facebook Show Pages: @audreyslatenightdrive ; @Audrey'searlydrive ;

Instagram: _audreyhalluk ; Email: audrey@audreyhall.uk

LinkedIn: http://linkedin.com/in/audrey-hall-89...

MixCloud: https://www.mixcloud.com/audreyslaten...

THE MENTIONS: Newport Jazz Festival, Birdland, The Frankfurt Book Fair, Muhammed Ali, Muneer Nasser’s gig: Juneteeth gig, The Sculpture Garden National Gallery of Art, Tyler Perry, Dr Martin Luther King, Malcolm X, The Green Book, the 1st Civil Rights Movement 1865, President Bill Clinton – 3 strikes rule, Blind Tom, Carnegie Hall, the Beale Street Music Festival, Howard University, Hip Hop.

Note from Audrey: This interview with Muneer was recorded last year. His “biggest gig of his life”, The Muneer Nasser Quintet A Juneteenth Jazz Celebration took place on June 21st at the National Gallery of Art (Sculpture Garden), Washington, DC

PS: Note from Audrey: In our chat, Muneer refers to @RonCarter's self-publishing, which is in fact a deliberate choice. I asked Mr C why? And his response via Team Maestro is as follows:

The assumption behind the question seems to be that self-publishing is a last resort or the result of there not being interest in the author by major companies. That’s just not true, at least in The Maestro’s case.

When you sign with a publisher, they make all the decisions. They decide the publishing calendar (often a year or more in advance of when you make the deal), they decide the quality of the paper and printing, they decide the price, they decide how much (or how little) to charge. Because of the nature of their business, making updates is a slow and cumbersome process and often does not happen until every last one of the books has been sold and then you need to make a new deal. Because the publisher is laying out all the money, then understandably get the lion’s share of the profits and the author gets 10 or 12%. This is a fair deal, one Maestro made decades ago before he had his own business built up, and one he could have today if he wanted. It is a great deal for authors who do not have the kind of marketing machine behind them and need a publisher to provide that. Mr. Carter is no longer in that position.

He chooses to publish his own books so he has control over what is being put out in his name, over the quality of the physical book, so he can update as he sees fit. Unlike many other authors, he does not need a publisher to find customers for his books – he has a robust social media following, a robust newsletter audience, and a reputation and following built up over 60 years.

Hosted on Acast. See acast.com/privacy for more information.

Who owns Jazz? Muneer Nasser says, “we pick cotton in this country just like we pick notes. We need to analyse history, not just celebrate it.”

The son of the celebrated bassist, Jamil Nasser exalts the legacy of his dad with stories of the iconic masters. And with lessons to be learned through what Muneer calls ‘the tunnel vision’ of HipHop, it’s a history lesson of the Jazz Legends who have shaped the fabric of music across generations and his take on what’s going on in the music business today, and why.

#PressPlay! #Subscribe! #JoinTheConversation!

Contact and Follow Audrey Hall:

Facebook and Twitter:@AudreyHall_

Facebook Show Pages: @audreyslatenightdrive ; @Audrey'searlydrive ;

Instagram: _audreyhalluk ; Email: audrey@audreyhall.uk

LinkedIn: http://linkedin.com/in/audrey-hall-89...

MixCloud: https://www.mixcloud.com/audreyslaten...

THE MENTIONS: Newport Jazz Festival, Birdland, The Frankfurt Book Fair, Muhammed Ali, Muneer Nasser’s gig: Juneteeth gig, The Sculpture Garden National Gallery of Art, Tyler Perry, Dr Martin Luther King, Malcolm X, The Green Book, the 1st Civil Rights Movement 1865, President Bill Clinton – 3 strikes rule, Blind Tom, Carnegie Hall, the Beale Street Music Festival, Howard University, Hip Hop.

Note from Audrey: This interview with Muneer was recorded last year. His “biggest gig of his life”, The Muneer Nasser Quintet A Juneteenth Jazz Celebration took place on June 21st at the National Gallery of Art (Sculpture Garden), Washington, DC

PS: Note from Audrey: In our chat, Muneer refers to @RonCarter's self-publishing, which is in fact a deliberate choice. I asked Mr C why? And his response via Team Maestro is as follows:

The assumption behind the question seems to be that self-publishing is a last resort or the result of there not being interest in the author by major companies. That’s just not true, at least in The Maestro’s case.

When you sign with a publisher, they make all the decisions. They decide the publishing calendar (often a year or more in advance of when you make the deal), they decide the quality of the paper and printing, they decide the price, they decide how much (or how little) to charge. Because of the nature of their business, making updates is a slow and cumbersome process and often does not happen until every last one of the books has been sold and then you need to make a new deal. Because the publisher is laying out all the money, then understandably get the lion’s share of the profits and the author gets 10 or 12%. This is a fair deal, one Maestro made decades ago before he had his own business built up, and one he could have today if he wanted. It is a great deal for authors who do not have the kind of marketing machine behind them and need a publisher to provide that. Mr. Carter is no longer in that position.

He chooses to publish his own books so he has control over what is being put out in his name, over the quality of the physical book, so he can update as he sees fit. Unlike many other authors, he does not need a publisher to find customers for his books – he has a robust social media following, a robust newsletter audience, and a reputation and following built up over 60 years.

Hosted on Acast. See acast.com/privacy for more information.